1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
10 @chapter Basic notation
12 This chapter explains how to use all basic notation features.
16 * Alternate music entry::
30 This section is about basic notation elements like notes, rests, and
31 related constructs, such as stems, tuplets and ties.
36 * Cautionary accidentals::
52 @cindex Note specification
53 @cindex entering notes
55 A note is printed by specifying its pitch and then its duration,
57 @lilypond[quote,verbatim,ragged-right,fragment]
63 This manual: @ref{Pitches}, @ref{Durations}
72 The most common syntax for pitch entry is used for standard notes and
73 @code{\chordmode} modes. In these modes, pitches may be designated by
74 names. The notes are specified by the letters @code{a} through
75 @code{g}. The octave is formed with notes ranging from @code{c}
76 to @code{b}. The pitch @code{c} is an octave below middle C and the
77 letters span the octave above that C
79 @lilypond[quote,fragment,verbatim,ragged-right]
81 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
87 The optional octave specification takes the form of a series of
88 single quote (`@code{'}') characters or a series of comma
89 (`@code{,}') characters. Each @code{'} raises the pitch by one
90 octave; each @code{,} lowers the pitch by an octave
92 @lilypond[quote,ragged-right,fragment,verbatim]
96 @cindex note names, Dutch
98 A sharp is formed by adding @code{-is} to the end of a pitch name and
99 a flat is formed by adding @code{-es}. Double sharps and double flats
100 are obtained by adding @code{-isis} or @code{-eses}. These
101 names are the Dutch note names. In Dutch, @code{aes} is contracted to
102 @code{as}, but both forms are accepted. Similarly, both
103 @code{es} and @code{ees} are accepted
105 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
113 There are predefined sets of note names for various other languages.
114 To use them, include the language specific init file. For
115 example: @code{\include "english.ly"}. The available language files
116 and the note names they define are
121 Note Names sharp flat
122 nederlands.ly c d e f g a bes b -is -es
123 english.ly c d e f g a bf b -s/-sharp -f/-flat
125 deutsch.ly c d e f g a b h -is -es
126 norsk.ly c d e f g a b h -iss/-is -ess/-es
127 svenska.ly c d e f g a b h -iss -ess
128 italiano.ly do re mi fa sol la sib si -d -b
129 catalan.ly do re mi fa sol la sib si -d/-s -b
130 espanol.ly do re mi fa sol la sib si -s -b
136 In accordance with standard typsetting rules, a natural sign is printed
137 before a sharp or flat if a previous accidental needs to be
138 cancelled. To change this behaviour, use
139 @code{\set Staff.extraNatural = ##f}
141 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
143 \set Staff.extraNatural = ##f
149 Suggested accidentals (used in notating musica ficta) may
150 be written with @code{suggestAccidentals}
152 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
153 \set suggestAccidentals = ##t
160 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
163 @node Cautionary accidentals
164 @subsection Cautionary accidentals
166 @cindex reminder accidental
168 @cindex cautionary accidental
169 @cindex parenthesized accidental
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 can be forced by adding an exclamation mark @code{!}
175 after the pitch. A cautionary accidental
176 (i.e., an accidental within parentheses) can be obtained by adding the
177 question mark `@code{?}' after the pitch. These extra accidentals
178 can be used to produce natural signs, too.
180 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
181 cis cis cis! cis? c c? c! c
187 The automatic production of accidentals can be tuned in many
188 ways. For more information, refer to @ref{Automatic accidentals}.
193 @subsection Micro tones
195 @cindex quarter tones
196 @cindex semi-flats, semi-sharps
198 Half-flats and half-sharps are formed by adding @code{-eh} and
199 @code{-ih}; the following is a series of Cs with increasing pitches
201 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
202 \set Staff.extraNatural = ##f
206 Micro tones are also exported to the MIDI file.
211 There are no generally accepted standards for denoting three quarter
212 flats, so LilyPond's symbol does not conform to any standard.
220 A chord is formed by a enclosing a set of pitches in @code{<} and
221 @code{>}. A chord may be followed by a duration, and a set of
222 articulations, just like simple notes
224 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
228 For more information about chords, see @ref{Chord names}.
239 Rests are entered like notes with the note name @code{r}
241 @lilypond[fragment,quote,ragged-right,verbatim]
245 Whole bar rests, centered in middle of the bar,
246 must be done with multi-measure rests. They can be used for a
247 single bar as well as many bars, and are discussed in
248 @ref{Multi measure rests}.
251 A rest's vertical position may be explicitly specified by entering a
252 note with the @code{\rest} keyword appended, the rest will be placed at
253 the note's place. This makes manual formatting in polyphonic music
254 easier. Automatic rest collision formatting will leave these rests
257 @lilypond[fragment,quote,ragged-right,verbatim]
263 Program reference: @internalsref{Rest}.
270 @cindex Invisible rest
275 An invisible rest (also called a `skip') can be entered like a note
276 with note name `@code{s}' or with @code{\skip @var{duration}}
278 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
279 a4 a4 s4 a4 \skip 1 a4
282 The @code{s} syntax is only available in note mode and chord mode. In
283 other situations, for example, when entering lyrics, you should use
284 the @code{\skip} command
286 @lilypond[quote,ragged-right,verbatim]
289 \new Lyrics \lyricmode { \skip 2 bla2 }
293 The skip command is merely an empty musical placeholder. It does not
294 produce any output, not even transparent output.
296 The @code{s} skip command does create @internalsref{Staff} and
297 @internalsref{Voice} when necessary, similar to note and rest
298 commands. For example, the following results in an empty staff.
300 @lilypond[quote,ragged-right,verbatim]
304 The fragment @code{@{ \skip 4 @} } would produce an empty page.
308 Program reference: @internalsref{SkipMusic}.
312 @subsection Durations
315 @cindex @code{\longa}
316 @cindex @code{\breve}
317 @cindex @code{\maxima}
319 In Note, Chord, and Lyrics mode, durations are designated by numbers and
320 dots: durations are entered as their reciprocal values. For example, a
321 quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For
323 notes longer than a whole you must use the variables @code{\longa} and
328 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
330 r1 r2 r4 r8 r16 r32 r64 r64
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
340 r\longa*1/4 r\breve *1/2
341 r1 r2 r4 r8 r16 r32 r64 r64
347 \remove "Clef_engraver"
348 \override StaffSymbol #'transparent = ##t
349 \override TimeSignature #'transparent = ##t
350 \override BarLine #'transparent = ##t
351 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note.
360 @lilypond[quote,ragged-right,verbatim,fragment]
361 { a a a2 a a4 a a1 a }
365 @node Augmentation dots
366 @subsection Augmentation dots
370 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
371 the number. Double-dotted notes are produced in a similar way.
373 @lilypond[quote,ragged-right,fragment,verbatim]
374 a'4 b' c''4. b'8 a'4. b'4.. c''8.
379 Dots are normally moved up to avoid staff lines, except in polyphonic
380 situations. The following commands may be used to force a particular
383 @cindex @code{\dotsUp}
385 @cindex @code{\dotsDown}
387 @cindex @code{\dotsNeutral}
392 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
400 @cindex @code{\times}
402 Tuplets are made out of a music expression by multiplying all durations
406 \times @var{fraction} @var{musicexpr}
410 The duration of @var{musicexpr} will be multiplied by the fraction.
411 The fraction's denominator will be printed over the notes, optionally
412 with a bracket. The most common tuplet is the triplet in which 3
413 notes have the length of 2, so the notes are 2/3 of their written
416 @lilypond[quote,ragged-right,fragment,verbatim]
417 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
420 Tuplets may be nested, for example,
422 @lilypond[fragment,ragged-right,verbatim,relative=2]
423 \set tupletNumberFormatFunction = #fraction-tuplet-formatter
426 \times 3/5 { a a a a a }
432 @cindex @code{\tupletUp}
434 @cindex @code{\tupletDown}
436 @cindex @code{\tupletNeutral}
437 @code{\tupletNeutral}.
442 @cindex @code{tupletNumberFormatFunction}
443 @cindex tuplet formatting
445 The property @code{tupletSpannerDuration} specifies how long each
446 bracket should last. With this, you can make lots of tuplets while
447 typing @code{\times} only once, thus saving lots of typing. In the next
448 example, there are two triplets shown, while @code{\times} was only
451 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
452 \set tupletSpannerDuration = #(ly:make-moment 1 4)
453 \times 2/3 { c8 c c c c c }
457 For more information about @code{make-moment}, see
458 @ref{Time administration}.
460 The format of the number is determined by the property
461 @code{tupletNumberFormatFunction}. The default prints only the
462 denominator, but if it is set to the Scheme function
463 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
466 To avoid printing tuplet numbers, use
468 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
469 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
470 \override TupletNumber #'transparent = ##t
471 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
477 Program reference: @internalsref{TupletBracket},
478 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
480 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
484 @node Scaling durations
485 @subsection Scaling durations
487 You can alter the length of duration by a fraction @var{N/M}
488 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
489 will not affect the appearance of the notes or rests produced.
491 In the following example, the first three notes take up exactly two
492 beats, but no triplet bracket is printed.
493 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
495 a4*2/3 gis4*2/3 a4*2/3
503 This manual: @ref{Tuplets}
509 Whenever a note is found, a @internalsref{Stem} object is created
510 automatically. For whole notes and rests, they are also created but
515 @cindex @code{\stemUp}
517 @cindex @code{\stemDown}
519 @cindex @code{\stemNeutral}
525 To change the direction of stems in the middle of the staff, use
527 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
529 \override Stem #'neutral-direction = #up
531 \override Stem #'neutral-direction = #down
536 @node Alternate music entry
537 @section Alternate music entry
540 This section deals with tricks and features of the input language that
541 were added solely to help entering music and finding and correcting
542 mistakes. There are also external tools that make debugging easier.
543 See @ref{Point and click} for more information.
545 It is also possible to enter and edit music using other programs, such as
546 GUI interfaces or MIDI sequencers. Refer to the LilyPond
547 website for more information.
555 * Skipping corrected music::
556 * Automatic note splitting::
557 * Writing music in parallel::
561 @node Relative octaves
562 @subsection Relative octaves
565 @cindex Relative octave specification
566 @cindex @code{\relative}
568 Octaves are specified by adding @code{'} and @code{,} to pitch names.
569 When you copy existing music, it is easy to accidentally put a pitch
570 in the wrong octave and hard to find such an error. The relative
571 octave mode prevents these errors by making the mistakes much
572 larger: a single error puts the rest of the piece off by one octave
575 \relative @var{startpitch} @var{musicexpr}
582 \relative @var{musicexpr}
585 The octave of notes that appear in @var{musicexpr} are calculated as
586 follows: if no octave changing marks are used, the basic interval
587 between this and the last note is always taken to be a fourth or
588 less. This distance is determined without regarding alterations; a
589 @code{fisis} following a @code{ceses} will be put above the
590 @code{ceses}. In other words, a doubly-augmented fourth is considered
591 a smaller interval than a diminished fifth, even though the
592 doubly-augmented fourth spans seven semitones while the diminished
593 fifth only spans six semitones.
595 The octave changing marks @code{'} and @code{,} can be added to raise
596 or lower the pitch by an extra octave. Upon entering relative mode,
597 an absolute starting pitch can be specified that will act as the
598 predecessor of the first note of @var{musicexpr}. If no starting pitch
599 is specified, then middle C is used as a start.
601 Here is the relative mode shown in action
602 @lilypond[quote,fragment,ragged-right,verbatim]
608 Octave changing marks are used for intervals greater than a fourth
609 @lilypond[quote,ragged-right,fragment,verbatim]
615 If the preceding item is a chord, the first note of the chord is used
616 to determine the first note of the next chord
618 @lilypond[quote,ragged-right,fragment,verbatim]
626 The pitch after the @code{\relative} contains a note name.
628 The relative conversion will not affect @code{\transpose},
629 @code{\chordmode} or @code{\relative} sections in its argument. To use
630 relative within transposed music, an additional @code{\relative} must
631 be placed inside @code{\transpose}.
635 @subsection Octave check
639 Octave checks make octave errors easier to correct: a note may be
640 followed by @code{=}@var{quotes} which indicates what its absolute
641 octave should be. In the following example,
644 \relative c'' @{ c='' b=' d,='' @}
648 the @code{d} will generate a warning, because a @code{d''} is expected
649 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
650 found. In the output, the octave is corrected to be a @code{d''} and
651 the next note is calculated relative to @code{d''} instead of @code{d'}.
653 There is also a syntax that is separate from the notes. The syntax
659 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
660 quotes) in \relative mode. If not, a warning is printed, and the
663 In the example below, the first check passes without incident, since
664 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
665 the second check produces a warning, since the @code{e} is not within
666 a fifth of @code{b'}. The warning message is printed, and the octave
667 is adjusted so that the following notes are in the correct octave
679 The octave of a note following an octave check is determined with
680 respect to the note preceding it. In the next fragment, the last note
681 is an @code{a'}, above middle C. That means that the @code{\octave}
682 check passes successfully, so the check could be deleted without changing
683 the output of the piece.
685 @lilypond[quote,ragged-right,verbatim,fragment]
695 @subsection Transpose
698 @cindex transposition of pitches
699 @cindex @code{\transpose}
701 A music expression can be transposed with @code{\transpose}. The
704 \transpose @var{from} @var{to} @var{musicexpr}
707 This means that @var{musicexpr} is transposed by the interval between
708 the pitches @var{from} and @var{to}: any note with pitch @code{from}
709 is changed to @code{to}.
711 For example, consider a piece written in the key of D-major. If
712 this piece is a little too low for its performer, it can be
713 transposed up to E-major with
715 \transpose d e @dots{}
718 Consider a part written for violin (a C instrument). If
719 this part is to be played on the A clarinet, the following
720 transposition will produce the appropriate part
723 \transpose a c @dots{}
726 @code{\transpose} distinguishes between enharmonic pitches: both
727 @code{\transpose c cis} or @code{\transpose c des} will transpose up
728 half a tone. The first version will print sharps and the second
729 version will print flats
731 @lilypond[quote,ragged-right,verbatim]
732 mus = { \key d \major cis d fis g }
741 @code{\transpose} may also be used to input written notes for a
742 transposing instrument. Pitches are normally entered into LilyPond
743 in C (or ``concert pitch''), but they may be entered in another
744 key. For example, when entering music for a B-flat trumpet which
745 begins on concert D, one would write
748 \transpose c bes @{ e4 @dots{} @}
751 To print this music in B-flat again (ie producing a trumpet part,
752 instead of a concert pitch conductor's score) you would wrap the
753 existing music with another @code{transpose}
756 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
762 Program reference: @internalsref{TransposedMusic}.
767 If you want to use both @code{\transpose} and @code{\relative},
768 you must put @code{\transpose} outside of @code{\relative}, since
769 @code{\relative} will have no effect music that appears inside a
774 @subsection Bar check
777 @cindex @code{barCheckSynchronize}
780 Bar checks help detect errors in the durations. A bar check is
781 entered using the bar symbol, `@code{|}'. Whenever it is encountered
782 during interpretation, it should fall on a measure boundary. If it
783 does not, a warning is printed. In the next example, the second bar
784 check will signal an error
786 \time 3/4 c2 e4 | g2 |
789 Bar checks can also be used in lyrics, for example
794 Twin -- kle | Twin -- kle
798 Failed bar checks are caused by entering incorrect
799 durations. Incorrect durations often completely garble up the score,
800 especially if the score is polyphonic, so a good place to start correcting
801 input is by scanning for failed bar checks and incorrect durations.
804 @cindex @code{pipeSymbol}
806 It is also possible to redefine the meaning of @code{|}. This is done
807 by assigning a music expression to @code{pipeSymbol},
809 @lilypond[quote,ragged-right,verbatim]
810 pipeSymbol = \bar "||"
816 @node Barnumber check
817 @subsection Barnumber check
819 When copying large pieces of music, it can be helpful to check that
820 the LilyPond bar number corresponds to the original that you are
821 entering from. This can be checked with @code{\barNumberCheck}, for
829 will print a warning if the @code{currentBarNumber} is not 123 when it
833 @node Skipping corrected music
834 @subsection Skipping corrected music
837 @cindex @code{skipTypesetting}
838 @cindex @code{showLastLength}
840 When entering or copying music, usually only the music near the end (where you
841 are adding notes) is interesting to view and correct. To speed up
842 this correction process, it is possible to skip typesetting of all but
843 the last few measures. This is achieved by putting
846 showLastLength = R1*5
851 in your source file. This will render only the last 5 measures
852 (assuming 4/4 time signature) of every @code{\score} in the input
853 file. For longer pieces, rendering only a small part is often an order
854 of magnitude quicker than rendering it completely
856 Skipping parts of a score can be controlled in a more fine-grained
857 fashing with the property @code{Score.skipTypesetting}. When it is
858 set, no typesetting is performed at all.
860 @lilypond[quote,fragment,ragged-right,verbatim]
863 \set Score.skipTypesetting = ##t
865 \set Score.skipTypesetting = ##f
869 In polyphonic music, @code{Score.skipTypesetting} will affect all
870 voices and staves, saving even more time.
873 @node Automatic note splitting
874 @subsection Automatic note splitting
876 Long notes can be converted automatically to tied notes. This is done
877 by replacing the @internalsref{Note_heads_engraver} by the
878 @internalsref{Completion_heads_engraver}.
879 In the following examples, notes crossing the bar line are split and tied.
881 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
883 \remove "Note_heads_engraver"
884 \consists "Completion_heads_engraver"
886 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
890 This engraver splits all running notes at the bar line, and inserts
891 ties. One of its uses is to debug complex scores: if the measures are
892 not entirely filled, then the ties exactly show how much each measure
898 Not all durations (especially those containing tuplets) can be
899 represented exactly with normal notes and dots, but the engraver will
902 @code{Completion_heads_engraver} only affects notes; it does not split
908 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
912 Program reference: @internalsref{Completion_heads_engraver}.
915 @node Writing music in parallel
916 @subsection Writing music in parallel
917 @cindex Writing music in parallel
918 @cindex Interleaved music
920 Music for multiple parts can be interleaved
922 @lilypond[quote,fragment,verbatim,relative=1]
923 \parallelMusic #'(voiceA voiceB) {
924 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
926 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
930 \new Staff \new Voice \voiceA
931 \new Staff \new Voice \voiceB
937 @section Staff notation
939 @cindex Staff notation
941 This section describes music notation that occurs on staff level,
942 such as key signatures, clefs and time signatures.
951 * System start delimiters::
961 The clef indicates which lines of the staff correspond to which
962 pitches. The clef is set with the @code{\clef} command
964 @lilypond[quote,ragged-right,fragment,verbatim]
965 { c''2 \clef alto g'2 }
975 @cindex mezzosoprano clef
976 @cindex baritone clef
977 @cindex varbaritone clef
980 Supported clefs finclude
982 @item treble, violin, G, G2
991 G clef on 1st line, so-called French violin clef
1008 By adding @code{_8} or @code{^8} to the clef name, the clef is
1009 transposed one octave down or up, respectively, and @code{_15} and
1010 @code{^15} transposes by two octaves. The argument @var{clefname}
1011 must be enclosed in quotes when it contains underscores or digits. For
1014 @cindex choral tenor clef
1015 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1022 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
1023 @code{clefPosition} (which controls the Y position of the clef),
1024 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1025 when any of these properties are changed. The following example shows
1026 possibilities when setting properties manually.
1028 @lilypond[quote,ragged-right,verbatim]
1030 \set Staff.clefGlyph = #"clefs.F"
1031 \set Staff.clefPosition = #2
1033 \set Staff.clefGlyph = #"clefs.G"
1035 \set Staff.clefGlyph = #"clefs.C"
1037 \set Staff.clefOctavation = #7
1039 \set Staff.clefOctavation = #0
1040 \set Staff.clefPosition = #0
1044 \set Staff.middleCPosition = #4
1052 Program reference: @internalsref{Clef}.
1056 @subsection Key signature
1058 @cindex Key signature
1061 The key signature indicates the tonality in which a piece is played. It
1062 is denoted by a set of alterations (flats or sharps) at the start of the
1065 Setting or changing the key signature is done with the @code{\key}
1069 @code{\key} @var{pitch} @var{type}
1072 @cindex @code{\minor}
1073 @cindex @code{\major}
1074 @cindex @code{\minor}
1075 @cindex @code{\ionian}
1076 @cindex @code{\locrian}
1077 @cindex @code{\aeolian}
1078 @cindex @code{\mixolydian}
1079 @cindex @code{\lydian}
1080 @cindex @code{\phrygian}
1081 @cindex @code{\dorian}
1082 @cindex church modes
1084 Here, @var{type} should be @code{\major} or @code{\minor} to get
1085 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1086 use the standard mode names (also called ``church modes''): @code{\ionian},
1087 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1088 @code{\phrygian}, and @code{\dorian}.
1090 This command sets the context property
1091 @code{Staff.keySignature}. Non-standard key signatures
1092 can be specified by setting this property directly.
1094 Accidentals and key signatures often confuse new users, because
1095 unaltered notes get natural signs depending on the key signature. For
1096 more information, see @ref{More about pitches}.
1101 A natural sign is printed to cancel any previous accidentals. This
1102 can be suppressed by setting the @code{Staff.printKeyCancellation}
1105 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1110 \set Staff.printKeyCancellation = ##f
1120 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
1123 @node Time signature
1124 @subsection Time signature
1126 @cindex Time signature
1128 @cindex @code{\time}
1130 Time signature indicates the metrum of a piece: a regular pattern of
1131 strong and weak beats. It is denoted by a fraction at the start of the
1134 The time signature is set with the @code{\time} command
1136 @lilypond[quote,ragged-right,fragment,verbatim]
1137 \time 2/4 c'2 \time 3/4 c'2.
1142 The symbol that is printed can be customized with the @code{style}
1143 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1146 @lilypond[fragment,quote,ragged-right,verbatim]
1149 \override Staff.TimeSignature #'style = #'()
1154 There are many more options for its layout. See @ref{Ancient time
1155 signatures} for more examples.
1157 @code{\time} sets the property @code{timeSignatureFraction},
1158 @code{beatLength} and @code{measureLength} in the @code{Timing}
1159 context, which is normally aliased to @internalsref{Score}. The
1160 property @code{measureLength} determines where bar lines should be
1161 inserted, and how automatic beams should be generated. Changing the
1162 value of @code{timeSignatureFraction} also causes the symbol to be
1165 More options are available through the Scheme function
1166 @code{set-time-signature}. In combination with the
1167 @internalsref{Measure_grouping_engraver}, it will create
1168 @internalsref{MeasureGrouping} signs. Such signs ease reading
1169 rhythmically complex modern music. In the following example, the 9/8
1170 measure is subdivided in 2, 2, 2 and 3. This is passed to
1171 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1173 @lilypond[quote,ragged-right,verbatim]
1176 #(set-time-signature 9 8 '(2 2 2 3))
1177 g8[ g] d[ d] g[ g] a8[( bes g]) |
1178 #(set-time-signature 5 8 '(3 2))
1184 \consists "Measure_grouping_engraver"
1192 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
1197 Automatic beaming does not use the measure grouping specified with
1198 @code{set-time-signature}.
1201 @node Partial measures
1202 @subsection Partial measures
1206 @cindex partial measure
1207 @cindex measure, partial
1208 @cindex shorten measures
1209 @cindex @code{\partial}
1211 Partial measures, such as an anacrusis or upbeat, are entered using the
1213 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1214 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1217 The syntax for this command is
1220 \partial @var{duration}
1223 This is internally translated into
1226 \set Timing.measurePosition = -@var{length of duration}
1229 The property @code{measurePosition} contains a rational number
1230 indicating how much of the measure has passed at this point.
1235 This command does not take into account grace notes at the start of
1236 the music. When a piece starts with graces notes in the pickup, then
1237 the @code{\partial} should follow the grace notes
1239 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1248 @subsection Bar lines
1252 @cindex measure lines
1255 Bar lines delimit measures, but are also used to indicate
1256 repeats. Normally they are inserted automatically. Line
1257 breaks may only happen on bar lines.
1259 Special types of bar lines can be forced with the @code{\bar} command
1261 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1265 The following bar types are available
1267 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1269 To allow a line break where there is no visible bar line, use
1276 This will insert an invisible bar line and allow line breaks at this
1279 In scores with many staves, a @code{\bar} command in one staff is
1280 automatically applied to all staves. The resulting bar lines are
1281 connected between different staves of a StaffGroup
1283 @lilypond[quote,ragged-right,fragment,verbatim]
1291 \new Staff { \clef bass c4 g e g }
1293 \new Staff { \clef bass c2 c2 }
1300 @cindex @code{whichBar}
1301 @cindex @code{repeatCommands}
1302 @cindex @code{defaultBarType}
1304 The command @code{\bar }@var{bartype} is a short cut for doing
1305 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1306 is set to a string, a bar line of that type is created.
1308 A bar line is created whenever the @code{whichBar} property is set.
1309 At the start of a measure it is set to the contents of
1310 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1311 to override default measure bars.
1313 You are encouraged to use @code{\repeat} for repetitions. See
1319 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1321 Program reference: @internalsref{BarLine} (created at
1322 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1324 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1327 @node Unmetered music
1328 @subsection Unmetered music
1331 @cindex @code{\cadenzaOn}
1332 @cindex @code{\cadenzaOff}
1334 Bar lines and bar numbers are calculated automatically. For unmetered
1335 music (cadenzas, for example), this is not desirable. To turn off
1336 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1337 and @code{\cadenzaOff}.
1339 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1351 LilyPond will only insert page breaks at a barline. Unless the unmetered
1352 music ends before the end of the staff line, you will need to insert
1360 to indicate where line breaks can occur.
1363 @node System start delimiters
1364 @subsection System start delimiters
1366 @cindex start of system
1367 @cindex Staff, multiple
1368 @cindex bracket, vertical
1369 @cindex brace, vertical
1372 @cindex staff, choir
1374 Many scores consist of more than one staff. These staves can be
1375 joined in four different ways
1378 @item The group is started with a brace at the left, and bar lines are
1379 connected. This is done with the @internalsref{GrandStaff} context.
1381 @lilypond[verbatim,ragged-right,quote]
1389 @item The group is started with a bracket, and bar lines are connected.
1390 This is done with the
1391 @internalsref{StaffGroup} context
1393 @lilypond[verbatim,ragged-right,quote]
1401 @item The group is started with a bracket, but bar lines are not
1402 connected. This is done with the @internalsref{ChoirStaff} context.
1404 @lilypond[verbatim,ragged-right,quote]
1412 @item The group is started with a vertical line. Bar lines are not
1413 connected. This is the default for the score.
1415 @lilypond[verbatim,ragged-right,quote]
1426 The bar lines at the start of each system are
1427 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1428 @internalsref{SystemStartBracket}. Only one of these types is created
1429 in every context, and that type is determined by the property
1430 @code{systemStartDelimiter}.
1434 @subsection Staff symbol
1436 @cindex adjusting staff symbol
1438 Notes, dynamic signs, etc., are grouped
1439 with a set of horizontal lines, called a staff (plural `staves'). In
1440 LilyPond, these lines are drawn using a separate layout object called
1443 The staff symbol may be tuned in the number, thickness and distance
1444 of lines, using properties. This is demonstrated in the example files
1445 @inputfileref{input/@/test,staff@/-lines@/.ly},
1446 @inputfileref{input/@/test,staff@/-size@/.ly}.
1448 In addition, staves may be started and stopped at will. This is done
1449 with @code{\startStaff} and @code{\stopStaff}.
1451 @lilypond[verbatim,relative=2,fragment]
1453 \override Staff.StaffSymbol #'line-count = 2
1454 \stopStaff \startStaff
1456 \revert Staff.StaffSymbol #'line-count
1457 \stopStaff \startStaff
1461 In combination with Frenched staves, this may be used to typeset ossia
1462 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1467 @lilypondfile{ossia.ly}
1469 @cindex staff lines, setting number of
1470 @cindex staff lines, setting thickness of
1471 @cindex thickness of staff lines, setting
1472 @cindex number of staff lines, setting
1476 Program reference: @internalsref{StaffSymbol}.
1478 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1479 @inputfileref{input/@/test@/,ossia.ly},
1480 @inputfileref{input/@/test,staff@/-size@/.ly}.
1484 @node Connecting notes
1485 @section Connecting notes
1487 This section deals with notation that affects groups of notes.
1493 * Laissez vibrer ties::
1506 A tie connects two adjacent note heads of the same pitch. The tie in
1507 effect extends the length of a note. Ties should not be confused with
1508 slurs, which indicate articulation, or phrasing slurs, which indicate
1509 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1511 @lilypond[quote,ragged-right,fragment,verbatim]
1512 e' ~ e' <c' e' g'> ~ <c' e' g'>
1515 When a tie is applied to a chord, all note heads whose pitches match
1516 are connected. When no note heads match, no ties will be created.
1518 A tie is just a way of extending a note duration, similar to the
1519 augmentation dot. The following example shows two ways of notating
1520 exactly the same concept
1522 @lilypond[quote,fragment,ragged-right]
1523 \time 3/4 c'2. c'2 ~ c'4
1527 Ties are used either when the note crosses a bar line, or when dots
1528 cannot be used to denote the rhythm. When using ties, larger note
1529 values should be aligned to subdivisions of the measure, eg.
1531 @lilypond[fragment,quote,ragged-right]
1533 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1537 If you need to tie a lot of notes over bars, it may be easier to use
1538 automatic note splitting (see @ref{Automatic note splitting}). This
1539 mechanism automatically splits long notes, and ties them across bar
1545 Ties are sometimes used to write out arpeggios. In this case, two tied
1546 notes need not be consecutive. This can be achieved by setting the
1547 @code{tieWaitForNote} property to true. The same feature is also useful,
1548 for example, to tie a tremolo to a chord. For example,
1550 @lilypond[fragment,verbatim,relative=1,ragged-right]
1551 \set tieWaitForNote = ##t
1552 \grace { c16[~ e~ g]~ } <c, e g>2
1553 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1560 @cindex @code{\tieUp}
1562 @cindex @code{\tieDown}
1564 @cindex @code{\tieNeutral}
1566 @cindex @code{\tieDotted}
1568 @cindex @code{\tieDashed}
1570 @cindex @code{\tieSolid}
1576 In this manual: @ref{Automatic note splitting}.
1578 Program reference: @internalsref{Tie}.
1581 @inputfileref{input/@/regression,tie-arpeggio.ly}
1582 @inputfileref{input/@/regression,tie-manual.ly}
1589 Switching staves when a tie is active will not produce a slanted tie.
1597 A slur indicates that notes are to be played bound or
1598 @emph{legato}. They are entered using parentheses
1600 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1601 f( g a) a8 b( a4 g2 f4)
1605 The direction of a slur can be specified with
1606 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1607 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1610 However, there is a convenient shorthand for forcing slur
1611 directions. By adding @code{_} or @code{^} before the opening
1612 parentheses, the direction is also set. For example,
1614 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
1618 Only one slur can be printed at once. If you need to print a long
1619 slur over a few small slurs, please see @ref{Phrasing slurs}.
1624 Some composers write two slurs when they want legato chords. This can
1625 be achieved in LilyPond by setting @code{doubleSlurs},
1627 @lilypond[verbatim,ragged-right,relative,fragment,quote]
1628 \set doubleSlurs = ##t
1629 <c e>4 ( <d f> <c e> <d f> )
1635 @cindex @code{\slurUp}
1637 @cindex @code{\slurDown}
1639 @cindex @code{\slurNeutral}
1640 @code{\slurNeutral},
1641 @cindex @code{\slurDashed}
1643 @cindex @code{\slurDotted}
1645 @cindex @code{\slurSolid}
1650 Program reference: @seeinternals{Slur}.
1653 @node Phrasing slurs
1654 @subsection Phrasing slurs
1656 @cindex phrasing slurs
1657 @cindex phrasing marks
1659 A phrasing slur (or phrasing mark) connects notes and is used to
1660 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1663 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1664 \time 6/4 c'\( d( e) f( e) d\)
1667 Typographically, the phrasing slur behaves almost exactly like a
1668 normal slur. However, they are treated as different objects. A
1669 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1670 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1671 @code{\phrasingSlurNeutral}.
1673 You cannot have simultaneous phrasing slurs.
1678 @cindex @code{\phrasingSlurUp}
1679 @code{\phrasingSlurUp},
1680 @cindex @code{\phrasingSlurDown}
1681 @code{\phrasingSlurDown},
1682 @cindex @code{\phrasingSlurNeutral}
1683 @code{\phrasingSlurNeutral}.
1688 Program reference: @internalsref{PhrasingSlur}.
1691 @node Laissez vibrer ties
1692 @subsection Laissez vibrer ties
1693 @cindex Laissez vibrer
1694 @cindex Ties, laissez vibrer
1696 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
1697 end. It is used in notation for piano, harp and other string and
1698 percussion instruments. They can be entered using @code{\laissezVibrer},
1700 @lilypond[fragment,ragged-right,verbatim,relative=1]
1701 <c f g>\laissezVibrer
1707 @internalsref{LaissezVibrerTie}
1708 @internalsref{LaissezVibrerTieColumn}
1711 @inputfileref{input/regression,laissez-vibrer-tie.ly}
1714 @node Automatic beams
1715 @subsection Automatic beams
1717 LilyPond inserts beams automatically
1719 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1720 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1723 When these automatic decisions are not good enough, beaming can be
1724 entered explicitly. It is also possible to define beaming patterns
1725 that differ from the defaults. See @ref{Setting automatic beam behavior}
1728 Individual notes may be marked with @code{\noBeam} to prevent them
1731 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1732 \time 2/4 c8 c\noBeam c c
1738 Program reference: @internalsref{Beam}.
1742 @subsection Manual beams
1744 @cindex beams, manual
1748 In some cases it may be necessary to override the automatic beaming
1749 algorithm. For example, the autobeamer will not put beams over rests
1750 or bar lines. Such beams are specified manually by marking the begin
1751 and end point with @code{[} and @code{]}
1753 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1755 r4 r8[ g' a r8] r8 g[ | a] r8
1762 @cindex @code{stemLeftBeamCount}
1763 @cindex @code{stemRightBeamCount}
1765 Normally, beaming patterns within a beam are determined automatically.
1766 If necessary, the properties @code{stemLeftBeamCount} and
1767 @code{stemRightBeamCount} can be used to override the defaults. If
1768 either property is set, its value will be used only once, and then it
1771 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1776 \set stemLeftBeamCount = #1
1781 The property @code{subdivideBeams} can be set in order to subdivide
1782 all 16th or shorter beams at beat positions, as defined by the
1783 @code{beatLength} property.
1785 @lilypond[fragment,quote,relative=2,verbatim]
1787 \set subdivideBeams = ##t
1789 \set Score.beatLength = #(ly:make-moment 1 8)
1792 @cindex @code{subdivideBeams}
1795 For more information about @code{make-moment}, see
1796 @ref{Time administration}.
1798 Line breaks are normally forbidden when beams cross bar lines. This
1799 behavior can be changed by setting @code{allowBeamBreak}.
1801 @cindex @code{allowBeamBreak}
1802 @cindex beams and line breaks
1803 @cindex beams, kneed
1805 @cindex auto-knee-gap
1810 Kneed beams are inserted automatically when a large gap is detected
1811 between the note heads. This behavior can be tuned through the object.
1813 Automatically kneed cross-staff beams cannot be used together with
1814 hidden staves. See @ref{Hiding staves}.
1816 Beams do not avoid collisions with symbols around the notes, such as
1817 texts and accidentals.
1821 @subsection Grace notes
1823 @cindex @code{\grace}
1826 @cindex appoggiatura
1827 @cindex acciaccatura
1829 Grace notes are ornaments that are written out. The most common ones
1830 are acciaccatura, which should be played as very short. It is denoted
1831 by a slurred small note with a slashed stem. The appoggiatura is a
1832 grace note that takes a fixed fraction of the main note, and is
1833 denoted as a slurred note in small print without a slash. They
1834 are entered with the commands @code{\acciaccatura} and
1835 @code{\appoggiatura}, as demonstrated in the following example
1837 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1838 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1839 \acciaccatura { g16[ f] } e4
1842 Both are special forms of the @code{\grace} command. By prefixing this
1843 keyword to a music expression, a new one is formed, which will be
1844 printed in a smaller font and takes up no logical time in a measure.
1846 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1848 \grace { c16[ d16] } c2 c4
1852 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1853 @code{\grace} command does not start a slur.
1855 Internally, timing for grace notes is done using a second, `grace'
1856 timing. Every point in time consists of two rational numbers: one
1857 denotes the logical time, one denotes the grace timing. The above
1858 example is shown here with timing tuples
1860 @lilypond[quote,ragged-right]
1863 c4 \grace c16 c4 \grace {
1866 \new Lyrics \lyricmode {
1867 \override LyricText #'font-family = #'typewriter
1871 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1872 \markup { (\fraction 1 4 , 0 ) } 4
1874 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1875 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1877 \markup { ( \fraction 2 4 , 0 ) }
1882 The placement of grace notes is synchronized between different staves.
1883 In the following example, there are two sixteenth grace notes for
1884 every eighth grace note
1886 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1887 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1888 \new Staff { c4 \grace { g8[ b] } c4 } >>
1891 @cindex @code{\afterGrace}
1893 If you want to end a note with a grace, use the @code{\afterGrace}
1894 command. It takes two arguments: the main note, and the grace notes
1895 following the main note.
1897 @lilypond[ragged-right, verbatim,relative=2,fragment]
1898 c1 \afterGrace d1 { c16[ d] } c4
1901 This will put the grace notes after a ``space'' lasting 3/4 of the
1902 length of the main note. The fraction 3/4 can be changed by setting
1903 @code{afterGraceFraction}, ie.
1906 afterGraceFraction = #(cons 7 8)
1910 will put the grace note at 7/8 of the main note.
1912 The same effect can be achieved manually by doing
1914 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1917 { s2 \grace { c16[ d] } } >>
1923 By adjusting the duration of the skip note (here it is a half-note),
1924 the space between the main-note and the grace is adjusted.
1926 A @code{\grace} section will introduce special typesetting settings,
1927 for example, to produce smaller type, and set directions. Hence, when
1928 introducing layout tweaks, they should be inside the grace section,
1930 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1942 The overrides should also be reverted inside the grace section.
1944 The layout of grace sections can be changed throughout the music using
1945 the function @code{add-grace-property}. The following example
1946 undefines the Stem direction for this grace, so stems do not always
1951 #(add-grace-property 'Voice 'Stem 'direction '())
1957 Another option is to change the variables @code{startGraceMusic},
1958 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1959 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1960 @code{stopAppoggiaturaMusic}. More information is in the file
1961 @file{ly/@/grace@/-init@/.ly}.
1964 The slash through the stem in acciaccaturas can be obtained
1965 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
1969 Program reference: @internalsref{GraceMusic}.
1974 A score that starts with a @code{\grace} section needs an explicit
1975 @code{\new Voice} declaration, otherwise the main note and the grace
1976 note end up on different staves.
1978 Grace note synchronization can also lead to surprises. Staff notation,
1979 such as key signatures, bar lines, etc., are also synchronized. Take
1980 care when you mix staves with grace notes and staves without, for example,
1982 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1983 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1984 \new Staff { c4 \bar "|:" d4 } >>
1988 This can be remedied by inserting grace skips of the corresponding
1989 durations in the other staves. For the above example
1992 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1995 Grace sections should only be used within sequential music
1996 expressions. Nesting or juxtaposing grace sections is not supported,
1997 and might produce crashes or other errors.
2001 @node Expressive marks
2002 @section Expressive marks
2004 Expressive marks help musicians to bring more to the music than simple
2009 * Fingering instructions::
2019 @subsection Articulations
2021 @cindex Articulations
2025 A variety of symbols can appear above and below notes to indicate
2026 different characteristics of the performance. They are added to a note
2027 by adding a dash and the character signifying the
2028 articulation. They are demonstrated here
2030 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2032 The meanings of these shorthands can be changed. See
2033 @file{ly/@/script@/-init@/.ly} for examples.
2035 The script is automatically placed, but the direction can be forced as
2036 well. Like other pieces of LilyPond code, @code{_} will place them
2037 below the staff, and @code{^} will place them above.
2039 @lilypond[quote,ragged-right,fragment,verbatim]
2043 Other symbols can be added using the syntax
2044 @var{note}@code{\}@var{name}. Again, they
2045 can be forced up or down using @code{^} and @code{_},
2048 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2049 c\fermata c^\fermata c_\fermata
2054 @cindex staccatissimo
2064 @cindex organ pedal marks
2073 @cindex prallmordent
2077 @cindex thumb marking
2082 Here is a chart showing all scripts available,
2084 @lilypondfile[ragged-right,quote]{script-chart.ly}
2089 The vertical ordering of scripts is controlled with the
2090 @code{script-priority} property. The lower this number, the closer it
2091 will be put to the note. In this example, the
2092 @internalsref{TextScript} (the sharp symbol) first has the lowest
2093 priority, so it is put lowest in the first example. In the second, the
2094 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2095 inside. When two objects have the same priority, the order in which
2096 they are entered decides which one comes first.
2098 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2099 \once \override TextScript #'script-priority = #-100
2100 a4^\prall^\markup { \sharp }
2102 \once \override Script #'script-priority = #-100
2103 a4^\prall^\markup { \sharp }
2109 Program reference: @internalsref{Script}.
2114 These signs appear in the printed output but have no effect on the
2115 MIDI rendering of the music.
2118 @node Fingering instructions
2119 @subsection Fingering instructions
2122 @cindex finger change
2124 Fingering instructions can be entered using
2126 @var{note}-@var{digit}
2128 For finger changes, use markup texts
2130 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2132 c^\markup { \finger "2 - 3" }
2135 You can use the thumb-script to indicate that a note should be
2136 played with the thumb (e.g., in cello music)
2137 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2138 <a_\thumb a'-3>8 <b_\thumb b'-3>
2141 Fingerings for chords can also be added to individual notes
2142 of the chord by adding them after the pitches
2143 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2144 < c-1 e-2 g-3 b-5 >4
2150 You may exercise greater control over fingering chords by
2151 setting @code{fingeringOrientations}
2153 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2154 \set fingeringOrientations = #'(left down)
2155 <c-1 es-2 g-4 bes-5 > 4
2156 \set fingeringOrientations = #'(up right down)
2157 <c-1 es-2 g-4 bes-5 > 4
2160 Using this feature, it is also possible to put fingering instructions
2161 very close to note heads in monophonic music,
2163 @lilypond[verbatim,ragged-right,quote,fragment]
2164 \set fingeringOrientations = #'(right)
2171 Program reference: @internalsref{Fingering}.
2173 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2177 @subsection Dynamics
2188 @cindex @code{\ffff}
2197 Absolute dynamic marks are specified using a command after a note
2198 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2199 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2200 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2201 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2203 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2204 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2205 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2212 A crescendo mark is started with @code{\<} and terminated with
2213 @code{\!} or an absolute dynamic. A decrescendo is started with
2214 @code{\>} and is also terminated with @code{\!} or an absolute
2215 dynamic. Because these marks are bound to notes, you must
2216 use spacer notes if multiple marks are needed during one note
2218 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2220 << f1 { s4 s4\< s4\! \> s4\! } >>
2224 A hairpin starts at the left edge of the beginning note and ends on the
2225 right edge of the ending note.
2227 This may give rise to very short hairpins. Use @code{minimum-length}
2228 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2232 \override Staff.Hairpin #'minimum-length = #5
2239 You can also use a text saying @emph{cresc.} instead of hairpins
2241 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2252 You can also supply your own texts
2253 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2254 \set crescendoText = \markup { \italic "cresc. poco" }
2255 \set crescendoSpanner = #'dashed-line
2259 To create new dynamic marks or text that should be aligned
2260 with dynamics, see @ref{New dynamic marks}.
2265 Dynamics that occur at, begin on, or end on, the same note
2266 will be vertically aligned. If you want to ensure that dynamics
2267 are aligned when they do not occur on the same note, you can
2268 increase the @code{staff-padding} property.
2271 \override DynamicLineSpanner #'staff-padding = #4
2274 You may also use this property if the dynamics are colliding
2275 with other notation.
2277 Crescendi and decrescendi that end on the first note of a
2278 new line are not printed. To change this behavior, use
2281 \override Score.Hairpin #'after-line-breaking = ##t
2287 @cindex @code{\dynamicUp}
2289 @cindex @code{\dynamicDown}
2290 @code{\dynamicDown},
2291 @cindex @code{\dynamicNeutral}
2292 @code{\dynamicNeutral}.
2297 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2298 Vertical positioning of these symbols is handled by
2299 @internalsref{DynamicLineSpanner}.
2303 @subsection Breath marks
2305 Breath marks are entered using @code{\breathe}
2307 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2314 The glyph of the breath mark can be tuned by overriding the
2315 @code{text} property of the @code{BreathingSign} layout object with
2316 any markup text. For example,
2317 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2319 \override BreathingSign #'text
2320 = #(make-musicglyph-markup "scripts.rvarcomma")
2327 Program reference: @internalsref{BreathingSign}.
2329 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2335 Short trills are printed like normal articulation; see @ref{Articulations}.
2337 Long running trills are made with @code{\startTrillSpan} and
2338 @code{\stopTrillSpan},
2340 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2342 << { c1 \startTrillSpan }
2343 { s2. \grace { d16[\stopTrillSpan e] } } >>
2347 @cindex Pitched trills
2349 Trills that should be executed on an explicitly specified pitch can be
2350 typeset with the command @code{pitchedTrill},
2352 @c if bug fixed, remove ! in f1 --gp
2353 @lilypond[ragged-right,verbatim,fragment,relative=1]
2354 \pitchedTrill c4\startTrillSpan fis
2358 The first argument is the main note. The pitch of the second
2359 is printed as a stemless note head in parentheses.
2364 @code{\startTrillSpan},
2365 @cindex @code{\startTrillSpan}
2366 @code{\stopTrillSpan}.
2367 @cindex @code{\stopTrillSpan}
2372 This manual: @ref{Pitched trills}.
2374 Program reference: @internalsref{TrillSpanner}.
2378 @subsection Glissando
2381 @cindex @code{\glissando}
2383 A glissando is a smooth change in pitch. It is denoted by a line or a
2384 wavy line between two notes. It is requested by attaching
2385 @code{\glissando} to a note
2387 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2389 \override Glissando #'style = #'zigzag
2396 Program reference: @internalsref{Glissando}.
2398 Example files: @file{input/@/regression/@/glissando@/.ly}.
2403 Printing text over the line (such as @emph{gliss.}) is not supported.
2407 @subsection Arpeggio
2410 @cindex broken chord
2411 @cindex @code{\arpeggio}
2413 You can specify an arpeggio sign (also known as broken chord) on a
2414 chord by attaching an @code{\arpeggio} to a chord
2416 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2420 A square bracket on the left indicates that the player should not
2421 arpeggiate the chord
2423 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2428 The direction of the arpeggio is sometimes denoted by adding an
2429 arrowhead to the wiggly line
2431 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2443 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2444 in both staves and set
2445 @internalsref{PianoStaff}.@code{connectArpeggios}
2447 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2449 \set PianoStaff.connectArpeggios = ##t
2450 \new Staff { <c' e g c>\arpeggio }
2451 \new Staff { \clef bass <c,, e g>\arpeggio }
2459 @cindex @code{\arpeggioUp}
2461 @cindex @code{\arpeggioDown}
2462 @code{\arpeggioDown},
2463 @cindex @code{\arpeggioNeutral}
2464 @code{\arpeggioNeutral},
2465 @cindex @code{\arpeggioBracket}
2466 @code{\arpeggioBracket}.
2471 Notation manual: @ref{Ties}, for writing out arpeggios.
2473 Program reference: @internalsref{Arpeggio}.
2478 It is not possible to mix connected arpeggios and unconnected
2479 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2486 Polyphony in music refers to having more than one voice occuring in
2487 a piece of music. Polyphony in LilyPond refers to having more than
2488 one voice on the same staff.
2492 * Explicitly instantiating voices::
2493 * Collision Resolution::
2497 @node Basic polyphony
2498 @subsection Basic polyphony
2502 The easiest way to enter fragments with more than one voice on a staff
2503 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2504 them simultaneously, separating the voices with @code{\\}
2508 @lilypond[quote,verbatim,fragment]
2509 \new Staff \relative c' {
2512 { g4 f e | d2 e2 } \\
2513 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2519 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2520 voices are sometimes called ``layers'' in other notation packages}
2522 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2523 each of these contexts, vertical direction of slurs, stems, etc., is set
2526 These voices are all seperate from the voice that contains the notes just
2527 outside the @code{<< \\ >>} construct. This should be noted when making
2528 changes at the voice level. This also means that slurs and ties cannot go
2529 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2530 from separate @code{<< \\ >>} constructs on the same staff are the the
2531 same voice. Here is the same example, with different noteheads for each
2532 voice. Note that the change to the note-head style in the main voice does not affect
2533 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2534 voice in the first @code{<< \\ >>} construct is effective in the second
2535 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2537 @lilypond[quote,verbatim,fragment]
2538 \new Staff \relative c' {
2539 \override NoteHead #'style = #'cross
2543 { \override NoteHead #'style = #'triangle
2548 { c8 b16 a b8 g ~ g2 } \\
2549 { \override NoteHead #'style = #'slash s4 b4 c2 }
2554 Polyphony does not change the relationship of notes within a
2555 @code{\relative @{ @}} block. Each note is calculated relative
2556 to the note immediately preceding it.
2559 \relative @{ noteA << noteB \\ noteC >> noteD @}
2562 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2563 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2566 @node Explicitly instantiating voices
2567 @subsection Explicitly instantiating voices
2569 @internalsref{Voice} contexts can also be instantiated manually
2570 inside a @code{<< >>} block to create polyphonic music, using
2571 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2572 and a horizontal shift for each part.
2576 << \upper \\ \lower >>
2584 \new Voice = "1" @{ \voiceOne \upper @}
2585 \new Voice = "2" @{ \voiceTwo \lower @}
2589 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2590 articulations, text annotations, augmentation dots of dotted
2591 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2592 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2593 make them point downwards.
2594 The command @code{\oneVoice} will revert back to the normal setting.
2596 An expression that appears directly inside a @code{<< >>} belongs to
2597 the main voice. This is useful when extra voices appear while the main
2598 voice is playing. Here is a more correct rendition of the example from
2599 the previous section. The crossed noteheads demonstrate that the main
2600 melody is now in a single voice context.
2602 @lilypond[quote,ragged-right,verbatim]
2603 \new Staff \relative c' {
2604 \override NoteHead #'style = #'cross
2609 \new Voice="1" { \voiceTwo
2610 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2613 \new Voice { \voiceThree
2622 The correct definition of the voices allows the melody to be slurred.
2623 @lilypond[quote,ragged-right,verbatim]
2624 \new Staff \relative c' {
2629 \context Voice="1" { \voiceTwo
2630 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2633 \new Voice { \voiceThree
2642 Avoiding the @code{\\} seperator also allows nesting polyphony
2643 constructs, which in some case might be a more natural way to typeset
2646 @lilypond[quote,ragged-right,verbatim]
2647 \new Staff \relative c' {
2652 \context Voice="1" { \voiceTwo
2655 {c8 b16 a b8 g ~ g2}
2656 \new Voice { \voiceThree
2669 @node Collision Resolution
2670 @subsection Collision Resolution
2672 Normally, note heads with a different number of dots are not merged, but
2673 when the object property @code{merge-differently-dotted} is set in
2674 the @internalsref{NoteCollision} object, they are merged
2675 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2678 \override Staff.NoteCollision
2679 #'merge-differently-dotted = ##t
2681 } \\ { g8.[ f16] g8.[ f16] } >>
2684 Similarly, you can merge half note heads with eighth notes, by setting
2685 @code{merge-differently-headed}
2686 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2689 \override Staff.NoteCollision
2690 #'merge-differently-headed = ##t
2691 c8 c4. } \\ { c2 c2 } >>
2694 LilyPond also vertically shifts rests that are opposite of a stem,
2697 @lilypond[quote,ragged-right,fragment,verbatim]
2698 \new Voice << c''4 \\ r4 >>
2704 @cindex @code{\oneVoice}
2706 @cindex @code{\voiceOne}
2708 @cindex @code{\voiceTwo}
2710 @cindex @code{\voiceThree}
2712 @cindex @code{\voiceFour}
2715 @cindex @code{\shiftOn}
2717 @cindex @code{\shiftOnn}
2719 @cindex @code{\shiftOnnn}
2721 @cindex @code{\shiftOff}
2722 @code{\shiftOff}: these commands specify in what chords of the current
2723 voice should be shifted. The outer voices (normally: voice one and
2724 two) have @code{\shiftOff}, while the inner voices (three and four)
2725 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2726 further shift levels.
2728 When LilyPond cannot cope, the @code{force-hshift}
2729 property of the @internalsref{NoteColumn} object and pitched rests can
2730 be used to override typesetting decisions.
2732 @lilypond[quote,verbatim,ragged-right]
2739 \once \override NoteColumn #'force-hshift = #1.7
2747 Program reference: the objects responsible for resolving collisions are
2748 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2751 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2752 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2753 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2754 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2755 @inputfileref{input/@/regression,collisions@/.ly}.
2760 When using @code{merge-differently-headed} with an upstem eighth or a
2761 shorter note, and a downstem half note, the eighth note gets the wrong
2764 There is no support for clusters where the same note occurs with
2765 different accidentals in the same chord. In this case, it is
2766 recommended to use enharmonic transcription, or to use special cluster
2767 notation (see @ref{Clusters}).
2774 Repetition is a central concept in music, and multiple notations exist
2780 * Repeats and MIDI::
2781 * Manual repeat commands::
2783 * Tremolo subdivisions::
2789 @subsection Repeat types
2792 @cindex @code{\repeat}
2794 The following types of repetition are supported
2798 Repeated music is fully written (played) out. This is useful when
2799 entering repetitious music. This is the only kind of repeat that
2800 is included in MIDI output.
2803 Repeats are not written out, but alternative endings (volte) are
2804 printed, left to right with brackets. This is the standard notation
2805 for repeats with alternatives. These are not played in MIDI output by default.
2809 Alternative endings are written stacked. This has limited use but may be
2810 used to typeset two lines of lyrics in songs with repeats, see
2811 @inputfileref{input,star-spangled-banner@/.ly}.
2815 Make tremolo beams. These are not played in MIDI output by default.
2818 Make beat or measure repeats. These look like percent signs. These
2819 are not played in MIDI output by default. Percent repeats must be
2820 declared within a Voice context.
2826 @subsection Repeat syntax
2828 LilyPond has one syntactic construct for specifying different types of
2829 repeats. The syntax is
2832 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2835 If you have alternative endings, you may add
2836 @cindex @code{\alternative}
2847 where each @var{alternative} is a music expression. If you do not
2848 give enough alternatives for all of the repeats, the first alternative
2849 is assumed to be played more than once.
2851 Standard repeats are used like this
2852 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2854 \repeat volta 2 { c4 d e f }
2855 \repeat volta 2 { f e d c }
2858 With alternative endings
2859 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2861 \repeat volta 2 {c4 d e f}
2862 \alternative { {d2 d} {f f,} }
2865 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2868 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2869 \alternative { { g4 g g } { a | a a a a | b2. } }
2873 It is possible to shorten volta brackets
2874 by setting @code{voltaSpannerDuration}. In the next example, the
2875 bracket only lasts one measure, which is a duration of 3/4.
2877 @lilypond[verbatim,ragged-right,quote]
2881 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2882 \repeat "volta" 5 { d d d }
2883 \alternative { { e e e f f f }
2893 Brackets for the repeat are normally only printed over the topmost
2894 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2895 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2900 @cindex repeat, ambiguous
2902 A nested repeat like
2911 is ambiguous, since it is is not clear to which @code{\repeat} the
2912 @code{\alternative} belongs. This ambiguity is resolved by always
2913 having the @code{\alternative} belong to the inner @code{\repeat}.
2914 For clarity, it is advisable to use braces in such situations.
2916 Timing information is not remembered at the start of an alternative,
2917 so after a repeat timing information must be reset by hand, for
2918 example by setting @code{Score.measurePosition} or entering
2919 @code{\partial}. Similarly, slurs or ties are also not repeated.
2922 @node Repeats and MIDI
2923 @subsection Repeats and MIDI
2925 @cindex expanding repeats
2926 @cindex @code{\unfoldRepeats}
2928 With a little bit of tweaking, all types of repeats can be present
2929 in the MIDI output. This is achieved by applying the
2930 @code{\unfoldRepeats} music function. This functions changes all
2931 repeats to unfold repeats.
2933 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
2935 \repeat tremolo 8 {c'32 e' }
2936 \repeat percent 2 { c''8 d'' }
2937 \repeat volta 2 {c'4 d' e' f'}
2946 When creating a score file using @code{\unfoldRepeats} for midi, then
2947 it is necessary to make two @code{\score} blocks. One for MIDI (with
2948 unfolded repeats) and one for notation (with volta, tremolo, and
2949 percent repeats). For example,
2957 \unfoldRepeats @var{..music..}
2963 @node Manual repeat commands
2964 @subsection Manual repeat commands
2966 @cindex @code{repeatCommands}
2968 The property @code{repeatCommands} can be used to control the layout of
2969 repeats. Its value is a Scheme list of repeat commands.
2972 @item @code{start-repeat}
2973 Print a @code{|:} bar line.
2975 @item @code{end-repeat}
2976 Print a @code{:|} bar line.
2978 @item @code{(volta @var{text})}
2979 Print a volta bracket saying @var{text}: The text can be specified as
2980 a text string or as a markup text, see @ref{Text markup}. Do not
2981 forget to change the font, as the default number font does not contain
2982 alphabetic characters;
2984 @item @code{(volta #f)}
2985 Stop a running volta bracket.
2988 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2990 \set Score.repeatCommands = #'((volta "93") end-repeat)
2992 \set Score.repeatCommands = #'((volta #f))
2999 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3000 @internalsref{VoltaRepeatedMusic},
3001 @internalsref{UnfoldedRepeatedMusic}, and
3002 @internalsref{FoldedRepeatedMusic}.
3005 @node Tremolo repeats
3006 @subsection Tremolo repeats
3008 @cindex tremolo beams
3010 To place tremolo marks between notes, use @code{\repeat} with tremolo
3012 @lilypond[quote,verbatim,ragged-right]
3013 \new Voice \relative c' {
3014 \repeat "tremolo" 8 { c16 d16 }
3015 \repeat "tremolo" 4 { c16 d16 }
3016 \repeat "tremolo" 2 { c16 d16 }
3020 Tremolo marks can also be put on a single note. In this case, the
3021 note should not be surrounded by braces.
3022 @lilypond[quote,verbatim,ragged-right]
3023 \repeat "tremolo" 4 c'16
3026 Similar output is obtained using the tremolo subdivision, described in
3027 @ref{Tremolo subdivisions}.
3032 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3034 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3036 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3037 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3040 @node Tremolo subdivisions
3041 @subsection Tremolo subdivisions
3043 @cindex tremolo marks
3044 @cindex @code{tremoloFlags}
3046 Tremolo marks can be printed on a single note by adding
3047 `@code{:}[@var{number}]' after the note. The number indicates the
3048 duration of the subdivision, and it must be at least 8. A
3049 @var{length} value of 8 gives one line across the note stem. If the
3050 length is omitted, the last value (stored in @code{tremoloFlags}) is
3053 @lilypond[quote,ragged-right,verbatim,fragment]
3054 c'2:8 c':32 | c': c': |
3060 Tremolos entered in this way do not carry over into the MIDI output.
3065 In this manual: @ref{Tremolo repeats}.
3067 Elsewhere: @internalsref{StemTremolo}.
3070 @node Measure repeats
3071 @subsection Measure repeats
3073 @cindex percent repeats
3074 @cindex measure repeats
3076 In the @code{percent} style, a note pattern can be repeated. It is
3077 printed once, and then the pattern is replaced with a special sign.
3078 Patterns of one and two measures are replaced by percent-like signs,
3079 patterns that divide the measure length are replaced by slashes.
3080 Percent repeats must be declared within a @code{Voice} context.
3082 @lilypond[quote,verbatim,ragged-right]
3083 \new Voice \relative c' {
3084 \repeat "percent" 4 { c4 }
3085 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3089 Measure repeats of more than 2 measures get a counter, if you switch
3090 on the @code{countPercentRepeats} property,
3092 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3093 \set countPercentRepeats = ##t
3095 \repeat "percent" 4 { c1 }
3100 Isolated percents can also be printed. This is done by putting a multi
3101 measure rest with a different print function,
3103 @lilypond[fragment,verbatim]
3104 \override MultiMeasureRest #'stencil
3105 = #ly:multi-measure-rest::percent
3114 Program reference: @internalsref{RepeatSlash},
3115 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3116 @internalsref{DoublePercentRepeatCounter},
3117 @internalsref{PercentRepeatCounter},
3118 @internalsref{PercentRepeatedMusic}, and